Dean has PTSD after a wet-job gone bad in Bosnia. Waiting for his police girlfriend at a diner, some bad guys inject him with a hallucinogen. It sends him back to traumatic experiences in Bosnia and he reacts violently.
UN's secretary general uses covert operations to help diplomacy along. Shaw's called back 6 months after one such operation. He witnesses the murder of Chinese UN ambassador at UN, NYC, chases the assassin and ends up a suspect.
A young woman is murdered in the White House. Homicide detective Regis/W.Snipes investigates while Secret Service works against him. He's assigned agent Chance/D.Lane. She eventually cooperates after a man's framed.
Secret Ops agent Marcus is sent to Detroit to take out an arms dealer and the head of the hedge fund that is financing him. His CIA backup has other plans and turns on him and it's a fight to survive in a hospital.
A gunman ties up an actor and locks him in his dressing room just before a performance. He also puts a bomb with a 90-minute timer next to the actor. Then, he goes to a room above an LA plaza and draws a bead on the actor's lover, international arms dealer, Liberty Wallace. Calling himself "Joe," he calls her cell phone, demonstrates that a rifle is pointed at her, and tells her to cuff herself to a hot-dog cart nearby (the cuffs are there). Over the next 90 minutes, the story unfolds: as a result of his daughter's death, he wants a public debate on the Second Amendment. As Liberty begins to bond with Joe on the phone, he gets some truths from her - and his revenge.Written by
The multiple shots about sniper nest show, his rifle has set position to cover area around hot dog stand and covering area is very narrow because of opened only last bottom slot in louvers. However, when Liberty's husband killers (and later from CIA) start shooting on Liberty from building roof or top car park level, Joe found them in his sniper scope and hit them. The view from scope showing picture, that rifle is on same level or below of target, but for such angle sniper would must change angle of rifle to position, where are closed louvers. And he definitely would not move louvers, it would reveal his position. Especially when all SWAT snipers was around. See more »
There's an interesting audience response to this movie. The director has captured the audience in the movie theater and forced it to take
a look at the handgun issue...not by getting the audience's attention with car chases and breasts heaving up and down while sexy things run, like in an action film, but with a hostage taking. And everyone's in the trap, including the audience.
The hostage and the guy pointing the gun (Wesley Snipes) are trapped in their standoff for most of the film. Meanwhile layers peal away as we begin to understand more and more about the source of the pain and the reason for the target of the desperate action.
The audience likes to be on the side of some main character who is outside of the stand-off, the person that will cause strength and good to prevail; but the director has ingeniously put the audience identification into the stand-off: equally into the emotional trauma of both the hostage and the hostage taker. Eventually you begin to feel the absurdity and desperation of the situation; eventually you realize that both feel trapped, and consequently the audience has little relief from the situation.
There's no Arnold Schwarzenegger coming to the rescue by blazing bigger more illegal weapons, and that is exactly what is intended, in my opinion. The big pay-off in this film is that it actually makes the audience think! Uncomfortable for some, but certainly worthwhile as a political statement and interesting filmmaking.
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